Film Review: Without Name

Director Lorcan Finnegan tries to convey the ominous power of nature in his genre-defying debut, Without Name. Subtle camera manipulations, onslaughts of strobe lighting and a nerve-jangling soundscape all result in sensory disorientation – but does the psychological power of this earthy horror match its technical prowess?

Alan McKenna plays land surveyor Eric, whose depression is conveyed through a series of jarring sights and sounds. The harshness of Dublin is captured in loud snippets of vapid talk radio, as sunlight creates a blinding glare on car windshields. As the voices jump, so does time, until we’re unsure if this is merely a single day or a snapshot of an endless, monotonous routine. When Eric gets a job in a rural part of Ireland, he jumps at the chance – leaving the palpable anger of his neglected wife and son in the dust of his jeep.

But once Eric’s drive through stunning, painterly landscapes is over, he finds himself in an eerie house with a handwritten manuscript called ‘Knowledge of Trees’, which is full of philosophical ramblings about the linguistics of flora. Even the arrival of Eric’s young assistant and lover Olivia (Niamh Algar) does nothing to dispel his sense of unease, and an ill-advised experience with mushrooms leaves him sure that there are forces in the forests beyond his understanding or control.

Finnegan fills his film with shifting shadows and the pulsing movements of tress and moss, which could either be nature in revolt or merely Eric’s all-encompassing anxiety. It is all very effectively shot.

However, the character’s midlife crisis isn’t compelling, while the vague presence of exploitative corporate figures indicates a Mother Nature revenge fantasy that doesn’t quite gel. Finnegan creates intriguing atmospheres, but he should aim for a stronger narrative next time.